Bacchus and Ariadne (French : Bacchus et Ariane), Op. 43 is a ballet score by the French composer Albert Roussel written in 1930. [1]
Its composition roughly coincides with that of Roussel's Symphony No. 3. It describes the abduction of Ariadne by Dionysus. The Paris Opera premiered the two-act work under the direction of Philippe Gaubert on 22 May 1931, with choreography by Serge Lifar and sets by Giorgio de Chirico. [2]
Roussel created two orchestral suites from the score, the first premiered by Charles Münch on 2 April 1933, and the second by Pierre Monteux a year later.
A late work, the piece reflects Roussel's distinctive orchestration style and his preference for late classical rhythms and harmonies.
Paul Abraham Dukas was a French composer, critic, scholar and teacher. A studious man of retiring personality, he was intensely self-critical, having abandoned and destroyed many of his compositions. His best-known work is the orchestral piece The Sorcerer's Apprentice, the fame of which has eclipsed that of his other surviving works, largely due to its usage in the 1940 Disney film Fantasia. Among these are the opera Ariane et Barbe-bleue, his Symphony in C and Piano Sonata in E-flat minor, the Variations, Interlude and Finale on a Theme by Rameau, and a ballet, La Péri.
In Greek mythology, Ariadne was a Cretan princess, the daughter of King Minos of Crete. There are different variations of Ariadne's myth, but she is known for helping Theseus escape from the Minotaur and being abandoned by him on the island of Naxos. There, Dionysus saw Ariadne sleeping, fell in love with her, and later married her. Many versions of the myth recount Dionysus throwing Ariadne's jeweled crown into the sky to create a constellation, the Corona Borealis.
Albert Charles Paul Marie Roussel was a French composer. He spent seven years as a midshipman, turned to music as an adult, and became one of the most prominent French composers of the interwar period. His early works were strongly influenced by the Impressionism of Debussy and Ravel, while he later turned toward neoclassicism.
The Paris Opera Ballet is a French ballet company that is an integral part of the Paris Opera. It is the oldest national ballet company, and many European and international ballet companies can trace their origins to it. It is still regarded as one of the four most prominent ballet companies in the world, together with the Bolshoi Ballet in Moscow, the Mariinsky Ballet in Saint Petersburg and the Royal Ballet in London.
Marin Marais was a French composer and viol player. He studied composition with Jean-Baptiste Lully, often conducting his operas, and with master of the bass viol Monsieur de Sainte-Colombe for six months. In 1676 he was hired as a musician to the royal court of Versailles and was successful there, being appointed in 1679 as ordinaire de la chambre du roy pour la viole, a title he kept until 1725.
Paul Antonin Vidal was a French composer, conductor and music teacher mainly active in Paris.
Ariadne auf Naxos, Op. 60, is a 1912 opera by Richard Strauss with a German libretto by Hugo von Hofmannsthal. The opera's unusual combination of elements of low commedia dell'arte with those of high opera seria points up one of the work's principal themes: the competition between high and low art for the public's attention.
Sylvia, originally Sylvia, ou La nymphe de Diane, is a full-length classical ballet in two or three acts, first choreographed by Louis Mérante to music by Léo Delibes.
Bacchus and Ariadne (1522–1523) is an oil painting by Titian. It is one of a cycle of paintings on mythological subjects produced for Alfonso I d'Este, Duke of Ferrara, for the Camerino d'Alabastro – a private room in his palazzo in Ferrara decorated with paintings based on classical texts. An advance payment was given to Raphael, who originally held the commission for the subject of a Triumph of Bacchus.
Ariane et Barbe-bleue is an opera in three acts by Paul Dukas. The French libretto is adapted from the symbolist play of the same name by Maurice Maeterlinck, itself loosely based on the French literary tale La Barbe bleue by Charles Perrault.
Le bourgeois gentilhomme, Op. 60, is an orchestral suite compiled by Richard Strauss from music he wrote between 1911 and 1917.
Ariane is an opera in five acts by Jules Massenet to a French libretto by Catulle Mendès after Greek mythology. It was first performed at the Palais Garnier in Paris on 31 October 1906, with Lucienne Bréval in the title role.
Bacchus is an opera in four acts by Jules Massenet to a French libretto by Catulle Mendès after Greek mythology. It was first performed at the Palais Garnier in Paris on 5 May 1909.
Les surprises de l'Amour is an opéra-ballet in two entrées and a prologue by the French composer Jean-Philippe Rameau. It was first performed in Versailles on 27 November 1748. The opera is set to a libretto by Gentil-Bernard. According to the usage of the time, it was originally just billed as a ballet and was only later classified by scholars as an opéra-ballet, although its content might more precisely ascribe it to the ballet héroïque genre.
Ariadne in Naxos is a painting by the Le Nain brothers, dating approximately 1635, that is part of the collection of French paintings in Orléans's Fine Arts museum. It is a 102*152 cm oil on canvas.
The Spider's Feast, Op. 17, is a 1912 "ballet-pantomime" with music by the French composer Albert Roussel (1869–1937) to a scenario by Gilbert de Voisins.
Alsatian conductor Charles Munch was one of the most widely recorded symphonic conductors of the twentieth century. Here is a partial list of his recordings.
Ariane et Bacchus is an opera by Marin Marais first performed at the Académie Royale de Musique on 8 March 1696. It takes the form of a tragédie en musique in five acts and a prologue. The libretto by Saint-Jean is based on Ovid's Metamorphoses and deals with the legend of Ariadne.
Kazuki Yamada is a Japanese conductor.
The orchestral Dance Suite from Keyboard Pieces by François Couperin, TrV 245 was composed by Richard Strauss in 1923 and consists of eight movements, each one based on a selection of pieces from François Couperin's Pièces de Clavecin written for the solo harpsichord over the period 1713 to 1730. It is also sometimes referred to as simply The Couperin Suite.